Tyler, the Creator has had much success as of late. He dropped an incredible album last year and he even received a few Grammy nominations. Now, he has dropped a new track titled “OKRA” which Tyler explained in a tweet that he made it “on some rap shit before tour just talking,” and that he decided to “just put it out for fun and move on with his life.” You can listen to the track below:
Death Grips have announced on their website and all over social media that their new album titled Year of the Snitch will be dropping soon. Just recently pics of the band in the studio with unlikely collaborators have surfaced online. Collaborators from the likes of Shrek director Andrew Adamson and “Tool’s” bassist Justin Chancellor. This release will follow last year’s Steroids (Crouching Tiger Hidden Gabber Megamix) and it will be their first full-length album since 2016’s Bottomless Pit. This new album can drop anytime now, because judging from the band’s past, they will release it whenever they damn well please. Maybe even tonight perhaps? You never know.
Artist: of Montreal
Album: White Is Relic/Irrealis Mood
Genre: Electronic/Synthpop/Experimental Pop
The very prolific Kevin Barnes and his extensive discography under his “of Montreal” project is a lot to digest. This body of work is rich in eclecticism and it draws from numerous genres, but the most prominent influence has always been “Psychedelic Pop” very reminiscent of the 60’s. There’s even a bit of Syd Barrett worship at times, and though this may be a bit of a distraction, the intrigue of where Barnes will go next has never waned. Once again on the band’s 15th studio album White Is Relic/Irrealis Mood, their sound has shifted into another unexpected direction. Inspired by 1980’s-style extended dance mixes this album goes in a very synth-heavy and danceable direction with four to the floor beats, groovy funk-filled basslines, and layers on top of layers of confusing and at times discombobulating sound textures. Oh yeah, there’s a lot going on, and Barnes and co. truly sound like they’re having fun. Especially Barnes who sounds a bit too happy to be singing about themes such as misanthropy, body dysmorphia, and being a loyal pervert, but nonetheless the band is having fun. The thing is, more often than not these songs feel too cluttered and a bit too reliant on production techniques, which takes a lot away from the enjoyability of this album. There’s enough proof that the band can succeed at the sound they’re going for but the damaging factors that make themselves front and center such as the clutter and Barnes’ goofy vocal delivery make this album insufferable for the most part, but when this album works, it’s a whole lot of fun. “Paranoiac Intervals/Body Dysmorphia” is a fun “House” dominated track with a catchy as Hell chorus with plenty of sing-a-long-able “Fuck fuck fucks!” The track “Writing the Circles/Orgone Tropics” is drony and hypnotic but with infectious percussion that will have you moving while you trip, and one of the main reasons why this track works so well is that the vocals aren’t as obnoxious as they are on the rest of the album, and that is another damaging factor. Yes there is a lot of great music that is obnoxious, but this album obnoxiously flaunts it’s massive amounts of cringe, and the majority of this cringe lies in the lyrics. With words like “Every person is a pussy, every pussy is a star,” or “Fucked in your driveway, in your driveway,” one can’t help but want to turn the shit off. An album from a band this inspired shouldn’t have those moments, but unfortunately it does, but this album isn’t a complete failure. The band knows how to make “Electronic” music quite well, and if they continue to go down this path but improve on this album’s misfires then we could witness a successful reinvention of “of Montreal.” One thing is for sure, that intrigue still hasn’t died.
Written By: Steven Sandoval
Album: Bobby Tarantino II
Genre: Hip Hop
There’s no denying the fact that Logic can flow his ass off, but his unfortunate inconsistency has been frustrating for those who know the guy is capable of achieving so much more when it comes to making music that is essential. Despite his recent success (Grammy nominations, hit singles, etc.) his latest album Everybody was very divisive. This album that was overblown to the point where leading up to this album many of us believed that it was going to be Logic’s “masterpiece,” was a safe exercise in the positive mindset of unity and peace, and though this is a very good message to have, the outcome of this album was just a collection of forgettable tracks that featured Logic urging us to come together all while trying to make these tracks catchy enough for radio play. Logic is well aware of this reception, and with his new mixtape Bobby Tarantino II, a sequel to his surprise 2016 mixtape, he reminds us that he still is a rapper that deserves our attention. This is by far the most boastful and confident Logic we’ve heard. This is “mixtape Logic” as described by Rick from “Rick and Morty” on the intro track “Grandpa’s Space Ship.” The bulk of this mixtape features Logic serving up Hip Hop purists that classic Hip Hop flow and ego over “Trap” dominated production mainly handled by “6ix.” There are some solid guest verses from Wiz Khalifa on the vibey stoner track “Indica Badu” that clocks in at exactly 4:20, and 2 Chainz who has been quite impressive with his features lately on the track “State Of Emergency.” Though Logic has yet to come into his own stylistically without the obvious borrowing from some of his contemporaries, and though the production on this mixtape gets a bit redundant and stale after awhile, this is a solid set of tracks and definitely worth a listen. Just skip that God awful track with “Marshmello.”
Written By: Steven Sandoval
Genre: Post-Punk/Noise Rock/Indie Rock
L.A. trio “Moaning” have garnered much attention in recent months. The “Sub Pop” signees have turned heads with their string of singles that offer a mixture of Post-Punk with doom flavored Goth undertones and walls of volume cranked sound containing distortion and pedal effects. This sound evokes the spirit of revered “Shoegaze” acts such as “My Bloody Valentine” or “Slowdive.” In the midst of the anticipation of the release of their self-titled debut, it was easy to believe that all the signs pointed to success, and their debut album hits it’s target quite effortlessly, but that effortlessness is the problem. There’s no doubt that the band are scholars in the realm of “Post-Punk” or “Noise Rock,” but their vast knowledge in said genres puts the band in cruise control. The band cranks out every common attribute it takes to make music like this without doing anything innovative enough to advance this style. This results in an album that is just okay, and only okay. They have the chops to create run-of-the-mill “Post-Punk,” but they’re not showing any innovation, whereas other bands such as “Protomartyr” or “HMLTD” are incorporating outsider elements to this genre to push it forward. Maybe “Moaning” can take notes from these bands. After all, they are still very young, but their sound requires much growth, and whether or not they are versatile enough to break the one-dimensional curse remains to be seen.
Written By: Steven Sandoval
“Parquet Courts” have announced that they will release their new Danger Mouse produced album Wide Awake! on May 18th. The band have also shared a new track from the album titled “Almost Had To Start a Fight/In and Out of Patience,” as well as a lyric video to accompany it. You can check out the track, as well as the album’s tracklist below:
Almost Had to Start a Fight/In and Out of Patience:
Wide Awake! Tracklist:
01 Total Football
03 Before the Water Gets Too High
04 Mardi Gras Beads
05 Almost Had to Start a Fight/In and Out of Patience
06 Freebird II
08 Back to Earth
09 Wide Awake
10 NYC Observation
12 Death Will Bring Change
Artist: U.S. Girls
Album: In A Poem Unlimited
Genre: Experimental Pop/Art Pop/Neo-Disco
In the wake of the #Metoo movement “U.S. Girls'” new album In A Poem Unlimited couldn’t have dropped at a better time. Despite the name of the project being plural, “U.S. Girls” is the project of sole member Meghan Remy, and following her 2015 album Half Free, an album catchy enough to dance to but also rich in Psychedelia, she has released an album that encapsulates the horrifying things many women have to go through. The lyrical themes deal with women who are victims of misogyny, domestic abuse, and degradation, and she paints this very grim, unfiltered but necessary picture of this unfortunate reality. With lyrical themes such as these, it’s surprising that the upbeat nature of the instrumentation actually compliments them quite well. This is “Experimental Pop” that cleverly works in a combination of blaring horns, squawking saxophones, pounding bongo drums, and hard hitting but smooth at the same time guitar work, and it’s all presented with an Electronic heavy backdrop. There are even moments of “Neo-Disco” flavor like the track “M.A.H.” This sounds like it could easily be an “ABBA” song on the surface, but the lyrics feature a pissed off and betrayed Remy who is disappointed with the mess Obama left us with, and even though her sensibilities are left-leaning, she still feels betrayed by a president she feels was supposed to be on her side, and this just adds another man to the list of men who have put her through Hell, and that’s the overall theme of the album. However, this isn’t done in a way that generalizes men, so before any of you ignorant men whom dismiss feminism as “man hate,” freak out, just know that she is speaking from the perspective of the many women who have been forced to endure the irrational idea many people have that women are inferior. She is giving these women a voice, the same voice the countless number of brave women who are part of the #Metoo movement have. This album isn’t all dark though, the closing track “Time” is actually optimistic with Remy singing “When there is nothing, there is still time. When there is nowhere, there is still time,” meaning despite this horrifying reality, there still is time to overcome all of this, but in order to move forward we have to be exposed to these horrifying truths, which she does on the majority of the album, but she ends it with a message of hope, and from there the closing track moves into an all out jam with much emphasis on the instrumentation and it closes the album perfectly. With subject matter like this, those who like their music friendly might have a hard time digesting this album, but if you’re progressive, or if you just want to hear some catchy tunes with an Experimental edge then this album is for you.
Written By: Steven Sandoval